One of Jessie Oonark’s eight surviving children (all of whom became artists), Nanurluq was absolutely devoted to her own children and grandchildren, and to her husband Silas. The theme of family groups or large gatherings remained important and consistent throughout her career as a sculptor; it began in the early 1970s with works like this one and included several depictions of large families in boats made well into the 1990s.

As a leading exponent of the Baker Lake carving tradition, “Mrs. Qiyuk’s” carving style was not only figurative but quite naturalistic – arguably, more so than that of male peers such as Arnasungaaq and Sevoga. This Family Group feels like an intensely personal image; viewers are keenly aware that this family gathering is a joyful one. It no doubt depicts various members of Nanurluq’s family: two women (likely the artist and one of her sisters) posing with their children. Each face is carved differently, so the portrayals are high individual. As Alistair Macduff suggested in his description of a very similar work, the various figures “display emotions ranging from the pride and joy on the face of the main figure to the impudence and shyness of the smaller figures. It is a rich extravagance of adults and children….” [1]. A lively and utterly charming composition, this is one of the finest examples we have seen.